Film

Away from any specific film movements or ‘waves’ relevant to their own countries, some filmmakers seem to earn greater acclaim internationally, often making films set outside their own native country, yet still telling the stories and expressing the themes they wish to portray. We examine what some of these, perhaps universal, stories and themes are, what are the stylistic approaches they use and just how and why these manage to resonate with critics and audiences. Are all these films received with equal praise within the director’s home country, are they seen as ‘selling out’? And regardless of what the director themselves might intend or state, are there still conscious or unconscious echoes of national cinematic movements within their work? And what role might financial sources play? Ang Lee’s Crouching Tiger Hidden Dragon received praise yet the director was regarded by some as ‘selling out’ or ‘exploiting’ himself to the West. Luc Besson’s The Fifth Element could be viewed simply as a Hollywood sci-fi with a French Director, yet does the director add far more as an outsider, making more intellectual comment than one may expect from a commercial genre-movie. Not unlike Peter Wier’s Witness and Jane Campion’s The Piano, so many of these works which despite their creative diversity, also evidence their director’s own unique cinematic voice. Likewise, Wim Wenders recent Perfect Days, set in Japan, how far removed is it from the director’s early underpinnings of German Cinema? Perfect Days (2023), Couching Tiger Hidden Dragon (2000), The Piano (1993), Witness (1985),The Fifth Element (1997).

Explore the rich history and cultural significance of British cinema in this comprehensive course. Analyse iconic films, directors, and movements that have shaped the British film industry from its inception to the present day.

This which go bump in the night, are some to quick to dismiss anything ghostly or supernatural as ‘horror’? Films which feature haunting and/or the supernatural so often rely on the fear of what might happen, mystery and suspense. As Alfred Hitchcock once said, ‘there is no terror in the bang, only in the anticipation of it’. We examine of this is also true of a good ghostly tale on film, like a thriller keeping the audience wondering what might happen? How do they do this, what techniques do they use? Films such as 1961’s The Innocents are noted as classics of the genre, adapted from a literary source, with memorable shots and scenes it still has the power to unnerve but has some of this been lost as other films copy its template? Ealing’s Dead of Night is now an influential cult classic but an oddball for the studio so noted for its comedy, what does it indicate about immediate post-war Britain? Rosemary’s Baby is now noted as pushing the genre forward into the modern age, from external terrors to fears lurking within society itself, 2001’s The Others attracted a broad audience, with fleeting nods to The Innocents, how did it re-energise the ghost story on film for the 21st Century. Whilst Ghost Story serves as an example of an all too often curio worth seeing for every fan of a ghostly tale. The Innocents (1961), Dead of Night (1945), Rosemary’s Baby (1968), Ghost Story (1974), The Others (2001).

Full of iconic moments, stories that capture everyday and life with great authenticity, Italian cinema has produced film-makers of singular vision and style who have pushed the boundaries of visual storytelling and film form. This course will introduce you to a national cinema that has made a unique contribution to world cinema

We will consider a range of films, from classics to contemporary cinema. We will discuss the style and meaning of diverse extracts drawing on key ideas from Film Studies. We will consider films from diverse countries, comparing and contrasting these with American and British cinema. The class will be organised around discussion of selected extracts, with guidance on points to look for, including different aspects of film such as the screenplay and cinematography. Students will be encouraged to develop their responses in small groups. Case studies will be included on Alfred Hitchcock and British cinema.

One of the revolutionary art movements of the early 20th century, surrealism was made for the movies. Artists keen on challenging the boundaries of form, genre and art itself, quickly made use of the possibilities of the moving image. Beyond that, early filmmakers discovered film’s potential for the ‘unreal’. In surrealist cinema, questions about identity and reality, challenges to social norms, the subconscious, dreams and the fantastic meet.

The course aims to introduce learners to the idea of how the role of the cinematic costume designer can be crucial in making or breaking a whole film. Costumes can evoke bygone eras, tell us hidden truths about characters, make outlandish otherworldly futures believable, and so much more. With a wealth of clips and background material.

We will consider a range of films, from classics to contemporary cinema. We will discuss the style and meaning of diverse extracts drawing on key ideas from Film Studies. We will consider films from diverse countries, comparing and contrasting these with American and British cinema. The class will be organised around discussion of selected extracts, with guidance on points to look for, including different aspects of film such as the screenplay and cinematography. Students will be encouraged to develop their responses in small groups. Case studies will be included on Alfred Hitchcock and British cinema.

The course aims to introduce learners to the long history of British film, its unique institutions, and how its story crosses over with both that of Hollywood and of the European film industries closer to home. We’ll take a deep dive into each major historical period of the industry in the context of its times and wider social change, from the earliest cinematic experiments to the present day. With a wealth of clips and background material.

Explore the diverse world of international cinema with our Film & Media: World Cinema course. Learn about key films, directors, and movements from around the globe. Ideal for film enthusiasts and anyone interested in expanding their cinematic knowledge.

'Immerse yourself in the five film wonders of modern French cinema, deepening your knowledge, understanding, and appreciation of 21st-century international filmmaking. Discover the magic of these cinematic gems and broaden your love for the art of film. Moving slightly beyond the well-trodden historical path of French New Wave and even the Cinema du look of the 1980s, you'll explore the themes, influences, techniques and voices behind some captivating French cinema from relatively more recent years – have things changed? Are there still some factors parallel to earlier works? And what exactly might we mean by the term Modern French Cinema?